What is Whole House Audio/Video?

Imagine having hi-fi music in every room of your home with nothing more than an elegant Wall Mounted Keypad and virtually invisible in-wall or in-ceiling Speakers showing. This is the dream system of interior decorators and is typically only found in multi-million dollar homes. We can show you how this can be done in your home with your existing equipment and at a reasonable cost. Whole house audio/video refers to a centralized audio/video system that pipes music and video/cable signals throughout the home. Because the system is centralized, the only components present in each room are speakers and TV screens. Control of the system is made through a handheld remote or wall mounted control panels. The centralized components can either be hidden away in a closet, or if you prefer, mounted in an impressive Rack System array in your living room. (Some systems may have additional VCRs and CD players located locally in various rooms for convenience. If correctly configured, these VCRs and CD players can be viewed or listened to in the room they are located as well as any other room.)

There are many ways of configuring a whole house audio video system. We will describe the basic methods below. Choose the method that best suits your requirements and budget.

Single Amplifier/Receiver Driving Speakers in Multiple Rooms

This is the simplest and lowest cost method. The output from a single amplifier or receiver is split amongst several rooms. All rooms will receive the same music. Volume Controls can be located in each room to adjust listening levels (or a centralized volume controller can be used if preferred). Whenever the output from a single amp/receiver is split between 2 or more speakers, an impedance matching system must be used. To control the master volume and source (CD, tuner, tape, etc.) from each room an Infrared (IR) Distribution system can be added.

Multiple Amplifiers/Receivers Sharing Sources

If different rooms need to listen to different sources at the same time, multiple amps/receivers are required. Use one amp/receiver for each listening (a zone refers to one or more rooms that listen to the same source simultaneously). The amp – receivers can be stacked together and the source inputs can be shared (ie. 1 CD, 1 tape, 1 DSS shared amongst 2 or more amp/receivers). To control the volume and source from each zone a zoned Infrared (IR) Distribution system can be added.

Purpose Made Multiple Zone Amplifier Systems

Many higher end amp/receivers now come with a built-in second discrete amplifier for a second zone. If your needs do not require more than 2 zones, this may be a cost effective solution. For a larger number of zones consider the NUVO or Russound 6-Source/6-Zone System which have six discrete amplifiers and a volume/source distribution system built-in.

Product Review: Universal Remote Touchscreen MX-3000

The MX-3000 from Universal Remote, is one of the flagship products in the home theater master line.  The MX-3000 is a universal color touch screen remote control.  The screen size is 3.8 inches and has the ability to operate by infra-red, radio frequency, or both.

For anyone who has ever lusted after color touch screen remotes, such as those offered by Crestron or AMX, but unwilling to sink what could equate into a few mortgage payments into a remote, take note this might be what your looking for.  While the MX-3000 doesn’t offer quite the level of customization a Crestron system does, it has more than enough features to handle the average home theater or media room setup.

At about 7 inches wide and 5 inches high the remote fits comfortable in your hand, and the color LCD screen is easy to read.  The contrast of the screen seemed quite high and made punching in channel numbers a breeze but, I’m getting ahead of myself.  Any programmable remote that uses PC based software is really only as good as that software, if it’s hard and cumbersome to program, your unlikely to get all you can out of it.
Earlier I’d mentioned the MX-3000 was IR or RF or both. To use the RF ability, you’ll need the separate MRF-350 which reads commands from the remote and then spits them out via infrared emitters attached to the front of the equipment.  I highly recommend this option, as pointing the remote at the equipment is no longer necessary, six infrared emitters are included.  This option pretty much guarantees the codes will be sent, regardless of where the remote was pointed at the time, also the range is increased from the infrared distance of 30 to 50 feet, to over 100 feet via RF.

Other features include custom background files, the ability to import .ccf files from other remotes such as the Philips Pronto, and the ability to “smart route” commands.  This gives you the ability to remotely control identical devices separately.  Overall, I really liked this remote, while my MX-900 RF offers many of the same functions, the color LCD display of the MX-3000 was really alluring, not to mention how it felt in my hand, it was really comfortable.  So as said previously, if you’ve considered touch panels from Crestron or AMX in the past, but didn’t need that level of control, not to mention the price tag, the MX-3000 is highly recommended.

Home Theater Setup

In a home theater setup process having the right components is just half of the equation, and the other half is how the components are placed and calibrated, and how the design of your room affects the sound and visual presentation. Today, it is no longer a matter of a small television set with pictures could hardly be seen from across the room. It is no longer even just sitting on a sofa and watching your favorite show from a big television. There is now more to everything in home viewing.

Today’s home theater systems are more complex than ever. It’s true that you can enjoy amazing pictures and high quality sound via high-resolution displaying sets and high performance audio systems. But, there are many connection options available in home theater setup. There are components that are basic to any home theater; these are the source, the video display, and the audio speakers. The most essential component of them is the source. This is the device that gives out television feed – with picture and sound – be it satellite, antenna or cable, DVD or DVR.

The screen is a very important component of the system; so many people would be looking for high-definition widescreen to get a better image. Whether it is an LCD, a Plasma TV or HDTV, the widescreen format copies the exact shape found in cinemas displaying more real image. Audio speakers are also an important part of home theater setup. So, if you want to enjoy a 3D surrounding sound, you will distribute the audio speakers through out the location. Having speakers in different spots will make you actually feel the sound coming from everywhere.

The key to picking a surround sound receiver is to find one that matches your speaker layout requirements. Most Receivers will work for Dolby Digital 5.1. Then depending on the model, they should also work for 6.1 or 7.1 surround. See the diagrams below to help you pick the right receiver type.

Each speaker of your home theater needs its own channel of amplification.  These amplifiers are typically built into audio/video receivers, but there are also many stand-alone multichannel power amplifiers for use with preamp/processor components. (Subwoofers, the “.1″ channel, frequently incorporate their own built-in amplification and need only a line-level connection from the subwoofer output to the receiver.)

Dolby Digital 5.1 Setup:

Dolby Digital 6.1 Setup:

Dolby Digital 7.1 Setup:

1080p- Does it matter?

1080i vs. 1080p: It’s all a matter of time.

1080i is the highest resolution format of the HDTV ATSC specification as well as the recently launched HD DVD and Blu-ray media. 1080p is often quoted as being a higher resolution than 1080i, and though from a certain point of view (which we will touch on) that’s true, in the broad context it is not.

In a very real way, 1080i and 1080p are the same resolution in that both consist of a 1920 x 1080 raster. That is, the picture is comprised of 1080 separate horizontal ‘lines’, with 1920 samples per line (or pixels per line, depending on your point of view). In other words, both 1080i and 1080p represent an image with 1920 x 1080 unique points of data in space.

The difference between ‘i’ and ‘p’ can only be appreciated in the time domain.

In a “true” or “native” 1080i HDTV system, the temporal resolution is 60 Hz. The image is sampled, or updated if you prefer, every 1/60 of a second. As with any interlaced format though, only half the available lines are sampled, or updated, every 1/60 of a second. The capture device (say, a video camera) does not sample the entire 1920 x 1080 at one time. Rather, it samples fields. A single field consists of every other line out of the complete picture. So we have the “odds” field which has lines 1, 3, 5, 7, etc and the “evens” field which has lines 2, 4, 6, 8, etc.

So, in an interlaced system, the camera samples one field (say the “odds”), then 1/60 of a second later, it samples the opposite field (the “evens”), then 1/60 of a second later it refreshes the odds, then 1/60 of a second later the evens, and so on. The alternating set of fields of a 1080i source each make up half the image.

The shorthand for this format is 1080i60.

The subject being captured is updated every 1/60 of a second, but only half the lines are used for each update. This has one benefit and many drawbacks.

The one virtue of this format is its high subject refresh rate: Think of a sporting event where the ball is traveling fast. We get an update on its position every 1/60 of a second. That’s really good compared to film’s 24 Hz refresh rate (even IMAX HD is only 48 Hz).

The downside on an interlaced format is that the alternating fields only truly compliment each other if the subject is stationary. If it is, then the alternating fields “sum” to form a complete and continuous 1920 x 1080 picture (everything lines up perfectly between the two fields). If the subject moves though, it will be in one position for one field and another position for the next. The interlaced fields no longer compliment one another and artifacts such as jaggies, line twitter, and other visual aberrations are a normal side effect of the interlaced format.

This animation demonstrates how objects in motion end up in a different position for each field, resulting in the “comb” effect.  Note however that areas not in motion maintain “full” resolution	This animation simulates the “twittering” of detail, inherent to an interlaced display system.

What does all this have to do with 1080p?

1080p differs from 1080i in that the entire 1920 x 1080 raster (all of the 1080 lines side to side) is sampled and/or displayed at one time. No fields. Just full, 1920 x 1080 frames. No combing. No line twitter. Just perfect pictures. But how, if our HDTV system does not incorporate 1080p does it become at all relevant?

We’re going to show you.

First we will explain how and why 1080i must be processed as best as possible into 1080p in order to maximize the potential of today’s digital displays, including LCD and Plasma flat panel TVs, as well as LCD/DLP etc, projection systems.

Let’s look at some illustrations:

If this were a scene shot at 1080i, and displayed at 1080i, it would look like this.  But today’s digital TV’s cannot do this.  The signal must be de-interlaced.
If we de-interlace it the WRONG way, it would look like this. The entire scene is reduced to 540 lines worth of resolution. Hint: look at the hands. If you display this on a 1366×768 TV (a common resolution right now), you will be wasting 1/3 of the resolution you paid for!
If we de-interlace it the RIGHT way though, to 1080p, it would look like this. Only the areas in motion are reduced in detail.  The rest remains at the full 1080 line resolution. Though you need a full 1920 x 1080 TV to maximize the detail present, on a lesser TV, say a 1366 x 768 model, you will still realize the device’s full potential.

Still wonder if you should care about 1080p?

But do you really need it?

Well, the first thing to come to terms with is, that, as we’ve pointed out, there is an abundance of 1080p24 material out there, encoded into 1080i60 format. If you want to view it at its full potential, you need not only a device capable of displaying it, a so called 1080line TV, but the ability to actually de-interlace it properly.

Some will argue that if you are seated far away and/or the screen is not enormous, one won’t “appreciate” the full detail of 1920 x 1080 (as compared to lower resolution TVs). Well, if you look at a 27″ 480i TV from 20 feet away, you could make the same argument. We could also make the argument that most people don’t appreciate, or even know of, reasonably good video quality to begin with. The strongest argument for that is to look at the quantity vs. quality of channels available from your satellite or cable provider in standard definition digital format vs. a good DVD in the same format, or even a standard definition terrestrial broadcast with a reasonably good signal. Even the most massive compression artifacts are apparently acceptable enough to most viewers such that most broadcast content providers fill up bandwidth with hundreds of programs (and maximize compression to do it) with little complaint from their subscribers.

In that realm, if that’s your baseline, then yes, the 1080p vs. 1366 x 768, or whatever your number, is more of a feel good numbers game. But, that’s not us, and if you’re reading this, we’re betting that’s not you either.

The point is, if you want to view the inherently 1080p24 content which is out there (and even native 1080i content) with maximum resolution (and we maintain that an enthusiast who sets up their viewing environment to get the most out of it can see the difference), you need a display capable of 1080p that keeps the signal in a 1080 line format from input to display surface.

(Article Source: http://www.hometheaterhifi.com/volume_14_1/feature-article-1080p-3-2007-part-1.html)

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